$29-118

Duration

1 hour & 30 minutes with intermission

Date & Times

Thursday, 7:30 PM

Friday, 11:00 AM

Saturday, 8:00 PM

Tuesday, 7:30 PM

Event Info

There’s no disputing that Franz Liszt was a 19th-century rock star of the piano. Be there when Yefim Bronfman joins the Philharmonic for this Liszt masterpiece, the epitome of virtuosity. You’re in good hands with the “powerhouse virtuoso who appears unruffled by the most demanding works in the repertoire” (The Wall Street Journal). Plus folk tunes abound in works by Dvořák, Ravel, and Kodaly.

Program

Kodály

As a child Kodály lived in the small town of Galánta, where his father was the railroad stationmaster. It’s also where he heard a gypsy band, which later sparked his interest in collecting Hungarian folk songs and dances: “Sometimes I would just buttonhole people in the street, invite them to come and have a drink, and get them to sing for me…” The five sections of the Dances of Galánta are inspired by traditional Hungarian dances in the verbunkos style (from the German word Werbung, meaning “recruiting”). Verbunkos, played by bands to persuade young men to enlist, consisted of two parts, one slow (lassú) and one fast (friss). Kodály adapted this format, keeping the characteristic gypsy elements but giving them a modern twist through his superb handling of the orchestration. Listen for an ultra-romantic melody in the introduction, sparkling, lightning-fast dances, offbeat rhythms, and a star turn by the clarinet in this colorful, beguiling evocation of the gypsy soul.

Liszt

There’s no disputing that Franz Liszt was the equivalent of a piano rock star in the 19th century, yet he essentially gave up the limelight when he was in his mid-30s to devote himself mainly to composing and conducting. Among his best-known works are virtuosic transcriptions of songs and opera “digests,” as well as many technically challenging works for solo piano and two piano concertos. In the one-movement Piano Concerto No. 2, Liszt explores the concept of thematic transformation or metamorphosis (linking sections thematically), which was something he had learned from Schubert and had already done elsewhere. Listen for how he takes the lyrical opening theme and changes it from section to section, altering its character, mood, tempo, and dynamics to arrive at a seemingly different theme altogether; only it’s not: it has become a masterfully disguised boisterous march. And at the very end — after all the stops have been pulled out — the composer adds a coda, in which the piano stars in its own variation. This Romantic masterpiece epitomizes brilliant, often virtuosic piano writing, as one might expect from Liszt, but there’s also imagination, originality, and poetry.

Dvořák

The renowned Czech poet Karel Jaromír Erben’s versified collection of mostly gruesome folk tales, oddly called Bouquet, was the inspiration for four tone poems by Antonín Dvořák, including the Water Goblin. In this grisly poem a mother, her daughter, and her daughter’s child definitely do not live happily ever after. The composer has translated their misfortune into atmospheric, eerily evocative music that follows the narrative as well as the speech patterns and rhythms of the Czech verses. Additionally, Dvořák has given each character a musical motif that the listener can follow. In the story, a malevolent goblin pulls the unsuspecting daughter into a lake, makes her his bride, and fathers a child by her. After a visit to her mother, the girl refuses to return to the watery depths when the Vesper bell rings — even though the goblin has kept their child as a hostage. In revenge the enraged goblin murders the child. The story…not for the faint of heart; the music…gripping.

Ravel

Maurice Ravel provides his own description of the iconic La valse: “Through whirling clouds, waltzing couples may be faintly distinguished. The clouds gradually scatter: one sees an immense hall filled with a swirling throng… The light of the chandeliers reaches its peak at the fortissimo. An imperial court, about 1855.… It is a dancing, whirling, almost hallucinatory ecstasy, an increasingly passionate and exhausting whirlwind of dancers who are overcome and exhilarated by nothing but ‘the waltz.’…[I]t is a fatal spinning around, the expression of vertigo and of the voluptuousness of the dance to the point of paroxysm.” The piece begins softly, and before long, the waltz has gathered a ferocious momentum and is now unstoppable. Orchestral sonorities change in wild profusion, and as the waltz progresses, the whirling dancers seem confused and stumbling. The scene begins to take on a sinister aspect, and the wild apotheosis ends in an explosive, shattering climax. As the music shows, Ravel’s homage-with-a-twist to “The Waltz King,” Johann Strauss, Jr., took on a different character than he had originally planned. It was intended to be “a kind of apotheosis of the Viennese Waltz,” but that was before the devastations of World War I, famine, and the deadly 1918 flu pandemic.

Artists

Juraj Valčuha

Juraj Valčuha

Conductor

Conductor

Juraj Valčuha is music director of the Teatro di San Carlo in Naples and first guest conductor of the Konzerthausorchester Berlin. He was chief conductor of the Orchestra Sinfonica Nazionale della RAI from 2009 to 2016.

He studied composition and conducting in Bratislava, St. Petersburg (with Ilya Musin), and Paris. He made his debut with the Orchestre national de France in 2005 and has since led London’s Philharmonia Orchestra, Rotterdam Philharmonic, Leipzig Gewandhaus Orchestra, Swedish Radio Symphony Orchestra, Dresden Staatskapelle, Munich Philharmonic, Berlin Philharmonic, Amsterdam’s Royal Concertgebouw Orchestra, Maggio Musicale Fiorentino, Orchestra dell’Accademia Nazionale di Santa Cecilia, and Milan’s Filarmonica della Scala. In North America Mr. Valčuha has led the New York Philharmonic, Los Angeles Philharmonic, and the Pittsburgh, Boston, Cincinnati, San Francisco, National, and Montreal symphony orchestras.

On the opera stage, Mr. Valčuha has conducted Gounod’s Faust in Florence, Britten’s Peter Grimes in Bologna, and Richard Strauss’s Elektra, Bizet’s Carmen, andPuccini’s The Girl of the Golden West at Teatro di San Carlo.

In the 2015–16 season he led the New York Philharmonic in New York and at Bravo! Vail, and returned to the Pittsburgh Symphony Orchestra, San Francisco Symphony, Minnesota Orchestra, and the Munich and Czech Philharmonic orchestras. In 2016–17 he made his debuts with the Chicago Symphony Orchestra and The Cleveland Orchestra, and returned to San Francisco, Montreal, Minnesota, and Orchestre de Paris.

His engagements in 2017–18 took him back to the orchestras of San Francisco, Detroit, Cincinnati, Minnesota, and Toronto, as well as the Konzerthausorchester Berlin, Munich Philharmonic, London’s Philharmonia Orchestra, Swedish Radio Symphony Orchestra, NDR Elbphilharmonie Orchestra, Orchestra Sinfonica Nazionale della RAI, and Orchestra dell’Accademia Nazionale di Santa Cecilia. At the Teatro di San Carlo he conducted productions of Bartók’s Bluebeard’s Castle, Puccini’s Tosca, and Shostakovich’s Lady Macbeth of Mtsensk.

Highlights of Juraj Valčuha’s 2018–19 season include a production of Wagner’s Die Walküre in Naples, Richard Strauss’s Salomé in Bologna, concerts with the BBC, Vienna, Montreal, San Francisco, Pittsburgh, and Dallas symphony orchestras, and a tour of the Baltic countries with the Konzerthausorchester Berlin.

Yefim Bronfman

Yefim Bronfman

Piano

Piano

Internationally recognized as one of today’s most acclaimed and admired pianists, Yefim Bronfman stands among a handful of artists regularly sought by festivals, orchestras, conductors, and recital series.

In recognition of a relationship of more than 30 years, Mr. Bronfman will join the Israel Philharmonic Orchestra and Zubin Mehta on the orchestra’s fall U.S. tour, including a stop at Carnegie Hall, followed by concerts in Munich, London, and Vienna with the Bavarian Radio Symphony Orchestra and Mariss Jansons, another frequent collaborator. In addition to returns to the New York and Los Angeles Philharmonic orchestras, The Cleveland and Philadelphia Orchestras, and Pittsburgh, National, Indianapolis, and Toronto symphony orchestras, in the spring he will tour with the Vienna Philharmonic and Andrés Orozco-Estrada in a special program celebrating the pianist’s 60th birthday. In Europe he can also be heard with the Berlin Philharmonic; in recital in Italy, France, Belgium, Germany, and London; and on tour with the Leipzig Gewandhaus Orchestra conducted by Andris Nelsons. A tour in Asia with the London Symphony Orchestra and Gianandrea Noseda brings the season to a close in June.

Mr. Bronfman has given numerous solo recitals in the leading halls of North America, Europe, and the Far East, including acclaimed debuts at Carnegie Hall in 1989 and Avery Fisher (now David Geffen) Hall in 1993. In 1991 he gave a series of joint recitals with Isaac Stern in Russia, marking Mr. Bronfman’s first public performances there since his emigration to Israel at age 15. That same year he was awarded the prestigious Avery Fisher Prize, one of the highest honors given to American instrumentalists, and in 2010 he was honored as the recipient of the Jean Gimbel Lane prize in piano performance from Northwestern University.

Born in Tashkent in the Soviet Union, Yefim Bronfman immigrated to Israel with his family in 1973.

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